Quotes About Close-up

If you want to talk about magic, the stuff that blows me away is the stuff that's done close up.

I was a super once - an extra - in 'Die Fledermaus,' and was seated within three feet of Placido Domingo. I had never heard a voice of that beauty so close up. It felt as if an electric shock were running through me.

The robot camera homed in for a close-up on the more popular of his two heads and he waved again. He was roughly humanoid in appearance except for the extra head and third arm. His tousled fair hair stuck out in random directions, his blue eyes glinted with something completely unidentifiable, and his chins were almost always unshaven.

I will interview bigwigs if I get the chance, but you are seldom surprised by people in power - you've got to get awfully damn close to get anything new.

Planetary missions are great, but they're usually only brief snapshots of those planets and also really very close-up.

Hey," a voice cut me off. "I know you!" I recognised the voice, but more than that I recognised the look on Macey's face as Preston came into view. "Don't you have a baby to kiss?" Macey said with a sigh. "Cammie, right?" Preston asked. "Macey didn't tell me you were coming." "Yeah. It's a great chance to see the political process up close and-" "Seriously," Macey snapped. "Go. Kiss. A baby.

Everybody thinks performance capture is about thrashing around and doing a lots of movement, but it's actually about being able to contain and think and be believed in a close-up, as much as anything else.

The way she could turn in to her camera close-up like life depended on her.

The preoccupation of Rossellini when dealing with the face of the child in Allemania Anno Zero is the exact opposite of that of Kuleshov with the close-up of Mozhukhin. Rossellini is concerned to preserve its mystery.

The close-up, according to D.W. Griffith, allows subtle changes of facial expression-the raising of an eyebrow or the flicker of a smile-to become part of the action.

So I even promised Henry's mother that she could act in the films. I mean I even believe that we could put in a close-up of her from time to time, because after all, nearly every photoplay has to have some comedy relief.

Because TV is mostly close up, it has to be fast. And because it has to be fast, you don't have time to explain completely, by a sequence shot, what's happening between people. So instead of experiencing what's happening, say, when a couple is dancing, dialogue is used to explain.

I found it more challenging to act in a small scene, especially if it has no dialogue and if it is a close-up with only expressions.

The power of a close-up can be extraordinary, but you have to have actors who are able to reveal themselves.

Most of the telly I do only has one camera and the reason you have to cook it twice is you have a close-up, so you see what is happening really close up and then you have a wide shot, which is like standing back so you see the whole fish and the kitchen and, like it or not, you have to do it twice.

Working in film tends to isolate actors - it's your close-up; it's all about you.

As far as I know, Vera Miles had a terrible time with Hitchcock, and she wanted to get out of the contract. He didn't let her. She did 'Psycho,' and I believe, if you look at 'Psycho,' there isn't one close up of Vera, not one. After that, she would never even speak about him to anyone.

The beauty of film is that you can get closer than you can in theater, you know? I come from theater, and I remember feeling like I was almost cheating when I would put the camera so close to somebody's face when I was filming them.

When you focus on details like this - close up, really clear, totally useless - you know you're in shock

Close-Up is a very particular film in my oeuvre. It's a film that was made in a very particular way; mainly because I didn't really have the time to think about how to go about making the film.

The shot is an extreme close-up, making it impossible to tell, without already knowing, what kind of flesh it is. It could be Julia Child skinning poultry before a studio audience. The seminar

Wrestling has to be more aggressive. It has to be bigger; it has to translate to the back of a football stadium. With acting, when that camera is up close, they can see your nose hairs twitch, and you have to pull back everything for it not to look clownish. There is that different mindset.

In professional wrestling, I think that they want you to be bigger than life. It's almost like an over-acting type thing - whereas on the big screen, you're 35 feet and they've got a close-up of you to put it on the screen in the movie house. At 35 feet, it's more subtlety than the overboard drama that we do in pro wrestling.

The only difference between baseball guys or football guys and wrestling guys is that when you go to the game, you see a team out on the field wearing uniforms. In wrestling, you see a two-thirds naked guy up real close.